Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Gabon and from Lille.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1970.
I'm losing my edge.
To all the kids in Halifax and Lille.
I'm losing my edge to the art-school Delhi kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the marimba sounds with much patience.
I was there when Holger Czukay started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Bobby Byrd to the jazz kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Gian Franco Pienzio. All the underground hits.
All Fort Wilson Riot tracks. I heard you have a vinyl of every The Chocolate Watch Band record on German import.
I heard that you have a white label of every seminal rap hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '80s.
I hear you're buying a synthesizer and a marimba and are throwing your macbook out the window because you want to make something real. You want to make a Stockholm Monsters record.
I hear that you and your band have sold your spring reverb and bought a harpsichord.
I hear that you and your band have sold your harpsichord and bought a spring reverb.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Amazonics,
Pet Shop Boys,
World's Most,
New Age Steppers,
Crime,
Neil Young,
Lucky Dragons,
Siglo XX,
LL Cool J,
Hardrive,
Talk Talk,
Ronnie Foster,
Visionaries,LMNO, T- Love & Iriscience,
Freddie Wadling,
Brass Construction,
Franke,
Essential Logic,
Marshall Jefferson,
DeepChord presents Echospace,
Rakim,
The Toasters,
Intrusion,
The Velvet Underground,
Reagan Youth,
Angry Samoans,
Morten Harket,
Popol Vuh,
Wings,
Theoretical Girls,
Sonic Youth,
Pierre Henry,
Liaisons Dangereuses,
Maurizio,
Tubeway Army,
Kas Product,
The Fugs,
The Last Poets,
D'Angelo,
KRS-One,
Tears for Fears,
Cymande,
Howard Jones,
R.M.O.,
Nation of Ulysses,
Bluetip,
Avey Tare & Kría Brekkan,
The Detroit Cobras,
The Red Krayola,
Tom Boy,
A Certain Ratio,
Bobby Womack,
Underground Resistance,
Patti Smith,
Joey Negro,
Kaleidoscope,
Zapp,
Kool G Rap & DJ Polo,
Gerry Rafferty,
Bob Dylan,
Public Image Ltd.,
Oblivians, Oblivians, Oblivians, Oblivians.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.